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Gô-hime (1992)

Chronicles the trials and tribulations of Oribe, the successor to tea-master Rikyu, Usu, his gardener, and Princess Goh, who attempt to balance artistic expression and duty amid political intrigue in feudal Japan.


Genpei Akasegawa, Masaharu Fuji (novel) | 1 more credit »
2 wins & 2 nominations. See more awards »


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Credited cast:
Rie Miyazawa Rie Miyazawa ... Princess Goh
Tatsuya Nakadai ... Oribe Furuta
Toshiya Nagasawa Toshiya Nagasawa ... Usu
Kôshirô Matsumoto Kôshirô Matsumoto ... Ukon Takayama
Rentarô Mikuni Rentarô Mikuni ... Junsai
Kyôko Enami Kyôko Enami ... Towa
Hisashi Igawa ... Ieyasu Tokugawa
Kei Suma Kei Suma ... Gamo
Kei Yamamoto Kei Yamamoto ... Hosokawa
Kyôko Maya Kyôko Maya ... Okin
Rest of cast listed alphabetically:
Tetsuya Bessho Tetsuya Bessho ... Toshitsune Maeda
Tokue Hanazawa Tokue Hanazawa ... Old servant
Yasushi Higuchi Yasushi Higuchi
Yûsuke Kawazu ... Katsushige Itakura
Akira Nagoya Akira Nagoya ... Torii


Chronicles the trials and tribulations of Oribe, the successor to tea-master Rikyu, Usu, his gardener, and Princess Goh, who attempt to balance artistic expression and duty amid political intrigue in feudal Japan.

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Drama | History







Release Date:

11 April 1992 (Japan) See more »

Also Known As:

Basara - The Princess Goh See more »

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Follows Rikyu (1989) See more »

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User Reviews

After Tea, Some Action
31 December 2015 | by kurosawakiraSee all my reviews

I'm going back to see every Teshigahara I can. I've loved him for a long time, but only recently revisited "Rikyu" (1989) and "Gô-hime" (1992), his last film. And, truth be told, I don't think cinema can get much better than this.

I think it really helps if you love Japanese green tea, and if you're into preparing it yourself. There's a sense of fragile timelessness as one measures the correct volume of water in the right temperature, preheats the teapot and other utensils, and applies the right amount of tea leaves. There's a wonderful, relaxing effect in preparing gyokuro in a shiboridashi, or fukamushi in a kyusu, seeing the leaves unfold. Let alone preparing and drinking matcha out of a chawan.

All of this, in my mind, is present in these two films. The sense of taking one's time, using only a few words instead of many, applying only little color instead of abundance. This is not easy to do, and I think Teshigahara's reputation as an avant-gardist does him wrong. He was, and through his cinema remains, a Rikyu of our time, not only in ikebana but also in cinema.

Not that these two films are the same. This follows "Rikyu" immediately, but it takes some time to adjust to its more energetic and immediate characters, and the change in Toyotomi, since in this film he's played not by Yamazaki but by Oida Katsuhiro. It's the most difficult difference to adjust to, not because of any flaw in Oida but due to Yamazaki's sheer perfection. Oida's Katsuhiro ascends from the heights of a Lear to a perceivably less frightening a majesty. I can't help but miss Yamazaki every time Toyotomi's on screen, although he disappears form the movie very early on.

But there's Nakadai Tatsuya, in his beauty unrivaled, save for the occasional Alain Delons of the world, and in his eloquence of characterization second to none in the realm of world cinema. Here he doesn't have that much to do which could be surmised from the title of the film. The rest of the players are the pillars that carry the princess's throne.

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